Is Huge Information Corrupting the U.S. Election Course of?

Because the 2020 election cycle ramps up, voters can count on a flurry of focused commercials fueled by huge knowledge on their doorsteps, inboxes and social media feeds. Whereas microtargeting primarily based on demographic info shouldn’t be a brand new pattern in marketing campaign technique, campaigns historically relied on analyzing voter habits inside broader classes equivalent to age or gender earlier than huge knowledge was simply accessible.

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Molly Kozlowski
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立中式速繪 動態姿勢繪圖技巧 ポーズが描ければ 動きも描ける たてなか流クイックスケッチ


作者: 立中順平  
出版社:楓書坊 |譯者: 游若琪
出版日期:2020/09/30
ISBN:9789863776314
規格:平裝 / 217頁 / 19 x 25.7 x 1.08 cm / 普通級 / 部份全彩 / 初版
定價:420元|優惠價:79折332元
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●本書特色
  ◎從心態及觀念養成開始,1-5分鐘,新手也能立馬上手的「立中式速繪教學」。
  ◎58部插圖教學影片免費下載,新手可一步步反覆學習,書末更附有作品集供創作者參考。
  ◎3大章節、逾200張速繪圖,講解觀察人物技巧、速繪重點及提升風格的小撇步。
速繪人物的基礎三堂課:
  ➊ 建立正確的心態
  不要想畫「正確」,而是要「輕鬆地多畫一些」,
  所謂的觀察力,只是「知識」和「經驗」的累積,
  熟悉自然就會,真的畫不出來的時候,只觀察也行。
  因為#魅力十足的圖,和技巧或常識毫無關係。#
  藉由觀察獲得的經驗和記憶,會轉換成「現實感」並活在作品中。
  不斷畫速繪,就能培養出短時間內掌握特徵的能力。
 
  ➋ 練習簡單畫全身的速繪技巧▁▁火柴人練習
  ⑴ 將全身分成15個部位,
  用2D畫全身,
  「頭 部、胸部、骨盤」是橢圓形。
  「上臂、下臂、大腿、小腿、手、腳」是線條。
  用D字形畫胸廓、軀幹和髖部,塑造印象,
  部位和部位之間留下空白,
  就能輕鬆畫出姿勢。
 
  ⑵ 注意基本結構,不要注意輪廓和細節
  看全身:那個人在做什麼?你有什麼感覺?
  看部位:位置和傾斜度?有什麼功用?
  簡單大膽地畫,鎖定在動作和使用身體的方式。
 
  ⑶ 立體化
  畫出火柴人的2D表現方式,稱作Shape,
  接下來要把平面添加立體的資訊,
  讓Shape有厚度(深度),
  只要畫出縱向的中心線,以及表示膨度的橫向曲線,
  就能變成有厚度和方向性的立體物。
 
  ⑷ 創造不對稱平衡
  全身的節奏和動線是一種流線感。
  盡量避免線條左右對稱,
  大原則是:弧線的對面必然是直線。
 
  ➌掌握印象,最後的風格和情緒添加
  這個人正在做¬「什麼」(動作)?他有「什麼樣」的感受(感情)?
  動作和感情,就是本書所說的動態。
  習慣用少量線條畫全身的思考方式後,就加入動線(flow)的觀點吧!
  不同的曲線會流暢地引導視線。
  彎度深的曲線會用慢節奏,彎度淺的曲線會用快節奏來引導視線。
  將線條加上粗細,就會產生強弱,成為更有趣味性的圖。
 
  本書從心態建立到步驟教學,
  不到20秒就能完成一幅速繪,
  附上58張速繪插圖影片,
  從空白至完稿,一筆一畫的繪畫過程全呈現,
  供學習者一遍一遍觀看臨摹,
  零基礎也沒問題。
 
  每次畫的速繪都是僅有一次的體驗,
  是當下你所能畫出的線條所構成的,
  請輕鬆享受速繪的樂趣吧!
 
◆作者簡介    
立中順平    
  日本岡山縣人。
  1993年開始在Disney Animation Japan擔任動畫師。
  後來進入Answer Studio,目前是自由工作者。
 
  曾參與《跳跳虎歷險記》(Disney)、《棒球大聯盟》(電視版)、《鑽石王牌》、《YURI !!!on ICE》、《佐賀偶像是傳奇》等作品。
 
  目前以動作作畫導演的身分參與各個作品的製作,是負責運動動畫動作表現的資深動畫師。
▼黑介紹
由曾經在華特迪士尼動畫工作室與日本動畫公司Answer Studio的日本資深動畫師立中順平撰寫的速繪教學書
教學主張「不要只在意正確,而是要畫出具有魅力的人物。」
在正確的觀念下,不斷的練習速繪,來培養出掌握特徵的能力。
本書分3個章節
第一章節:速繪繪畫 P1-73.
1-1:速繪的觀念介紹
1-2:速繪人物的重點
1-3:掌握印象
第二章節:繪畫技巧P75-145.
2-1:速繪的各種技巧
2-2:身體局部與衣服
2-3:邁向下一步,動態的掌握
第三章節:速繪作品集P151-218.
收錄立中老師3年來的速繪作品。
▼黑書評
多數速寫教學書都很吃繪畫基礎,在沒有人物基礎的前提下會很難入門。
本書教學另闢蹊徑在以沒有基礎的前提下,講解如何學習速繪
內文資訊量雖然大,但搭配簡化好上手的範例
對新手來說比較好入門,實際操作也不會太挫折
推薦給想讓人物動態更有魅力的學習者們~
這本很不錯用~~~

Design College students’ Summer season Break

With summer break fast approaching, graphic design students like me are trying to figure out productive ways to spend their time. Work for money? Work for experience? Summer classes?

I’ve spent the past few months doing everything I can to
find an internship this summer. Finding a company that isn’t an MLM and will
actually pay good money for your design work is tough. Luckily, graphic design
is a field that’s in demand, so there are a lot of good options out there.

The other option for getting design experience during the summer
break is freelance work, but that comes with its own slew of issues. There’s
nothing worse than beginning to work with a client and getting excited for a
project just for them to look at you with a face like the Surprised Pikachu Meme
when you start to discuss cost.

With two weeks left in the semester, here’s hoping we figure
something out soon!

Equanimity

Throughout my writing life, I’ve tried–and often failed–to maintain a balanced attitude towards my writing. Tried to read the work I’ve produced with enough detachment to make judgments about what needs doing (or perhaps it’s more apt to say “make assessments”) without getting hung up about the worth of the work.

So often in the classes I teach, I have to talk students down off the judgment ledge. “This stinks.” “This is awful.” “I hate it.” “I’m going to tear it up because it’s no good.”

I know what it’s like to have those feelings. But when I do–and when my students do–I remind them that their thoughts are just thoughts, their feelings are just feelings, and that they don’t necessarily have any truth functional value. That is, just because we say “This stinks” doesn’t mean that it does. And just because we feel “I hate it” doesn’t mean that the work in process isn’t good enough for the stage it’s at or doesn’t have the potential to become a fine work of art.

I tell my students, “Our job is to write the work, to finish the work to the best of our ability. It’s a critic’s job to evaluate the work.”

This is why I don’t do group critiquing in my classes. Because I want my students to think only in terms of their own work; I don’t want them to have to mull over several (twelve, fifteen) written judgments of how well other people think their work in progress is coming along. We each have to find our own particular, and sometimes idiosyncratic and peculiar voice, and this takes time, time best spent without listening to others’ opinions which can derail us. As I tell my students, what would a critiquing session sound like with William Faulkner sitting next to Ernest Hemingway sitting next to Virginia Woolf. Can you imagine it? “Your sentences are too long.” “Your sentences are too short.” “Why are you telling the story from so many points of view? Stick to just one!”

The problem with all this is that it’s judging a work way before a work is completed, way before the writer has found her/his voice for the work or even learned what the work is about. Many of us write really incomplete, semi-incoherent narratives while we’re in process, and we don’t figure things out until very late in the writing process. In my own work, what the work looks like two or three months before I finish often is very different from the work I complete. That’s because it takes me that long to figure out how I want to tell the narrative. And once I learn that, I work quickly.

I’ve seen many a writer–myself included–stopped dead in their tracks when someone offers criticism too soon. Or at all. My particular point of view is that we should wrestle with our work until we’re satisfied that we’re finished with it for now. When we believe that there is nothing left for us to do. Notice I don’t say we should wrestle with the work until it’s good. Just until we believe it’s finished for now, and working for the time being.

It’s important for me to maintain a certain equanimity while I write to get a book to the finish line. And there are a few behaviors I’ve adopted that help me.

1. I don’t say “My work,” I say “The work”. “The ending of the work needs some refining: maybe I need a concluding scene.” Compare this with “The ending of my chapter doesn’t work: maybe I need a concluding scene.” I learned to do this a long time ago. I read a wonderful meditation book for people with chronic illness that suggested it was better for us to say, “The arm is in a great deal of pain today” than to say “My arm is in a great deal of pain today” or to say “Anxiety is present today” rather than to say “I’m very anxious today. The first allows us some distance, some detachment that automatically makes us feel better (at least that’s true for me).

Similarly, when we say “the work” rather than “my work” we take a step back from our attachment to the work, allowing ourselves to assess what needs to be done, not judge the work.

2. Never judge our work’s merits. Just think about what needs to be done next, one small step at a time. Judging will prevent us from doing the work that needs doing. Think, instead, of the work that needs to be done: this will make us feel more powerful. It will give us an action plan. “The beginning of the work needs some tightening, I think; I’ll try it and see what happens” rather than “I hate the beginning of my chapter; I don’t know what to do.”

3. Keep our work to ourselves until we think it’s ready. Don’t hand our work around and ask other people what we should do, not unless we’ve wrestled with it work for a very long time and we’re truly stumped.

And a word about asking another writer to read our work. . . .

We must respect the fact that the reader is giving up time to do their own work to read our. Years ago, I spent a long time reading the manuscript of a friend’s memoir. She gave me guideline questions to answer as I’d asked. When I finished, I called to talk to her, whereupon the writer said that she’d changed everything already and that we didn’t need to talk. Hours of my time wasted. That was the last time I read her work.